Despite trying to watch a few Marvel films, Scorsese simply noted they're not for him - "closer to theme parks than they are to movies as I've known and loved them." Despite the fact that Marvel films are helmed by considerable talents, artists and storytellers, they just aren't "Cinema," so far as Scorsese is concerned.įor example, in the world of books, James Patterson mysteries are the sort of paperback pulp you pick up at the airport: They are entertaining, but they aren't works of "Literature." However, a thriller like Gone Girl by Gillian Flynn, which pays closer attention to craft elements, characterization and the beauty of language, can have a plot full of mystery but still win merits for being Literature. Some of this comes down to personal taste, which the Goodfellas (1990) director wholeheartedly acknowledges, writing that it was a matter of what pictures came out while he was growing up and learning about filmmaking. So while Scorsese may have a point to make in saying the risk or stakes don't quite feel there in a superhero movie, it's also quite possible that he's not fully aware of (or willing to see) just how similar his films are to Marvel's movies. But that satisfaction, in its alleged predictability, sees such genre films lambasted for being just that - of a particular genre. There's a comfort in that familiarity, in seeing good prevail or an unlikely hero rise up. After all, they are purposely archetypal - not unlike the stories of mythology. Sure, whether they're telling the story of a Norse god or a super-soldier circa World War II, superhero films hit familiar story beats time and again.
"What's not there is revelation, mystery or genuine emotional danger. "Many of the elements that define cinema as I know it are there in Marvel pictures," Scorsese noted. For filmmakers like Scorsese, this seems to leave little room for art. With established fandoms, there's a love and loyalty that becomes quite the asset. Folks who won't just see an entire trilogy of films, but folks who will invest in merchandise and books and games and theme park tickets. That's the nature of modern film franchises: market-researched, audience-tested, vetted, modified, revetted and remodified until they're ready for consumption." In short, companies want a sure bet - they want to capitalize on a built-in audience, a dependable audience. "They are sequels in name but they are remakes in spirit…. "The pictures are made to satisfy a specific set of demands, and they are designed as variations on a finite number of themes," Scorsese wrote.
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